{"product_id":"naqoyqatsi-ナコイカッツィ-original-japanese-first-release-movie-poster-2004-tadanori-yokoo-artwork-b2-size-51-73-cm-k354","title":"“Naqoyqatsi” \/ 「ナコイカッツィ」, Original Japanese First-Release Movie Poster 2004, Tadanori Yokoo Artwork, B2 Size (51 × 73 cm) K354","description":"\u003cdiv class=\"qMYqUG_convSearchResultHighlightRoot\"\u003e\n\u003cdiv class=\"\" data-turn-id-container=\"request-WEB:85b0f86f-6788-4efa-8975-778e1123b9ca-0\" data-is-intersecting=\"true\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"request-WEB:85b0f86f-6788-4efa-8975-778e1123b9ca-0\" data-turn-id-container=\"request-WEB:85b0f86f-6788-4efa-8975-778e1123b9ca-0\" data-testid=\"conversation-turn-2\" data-turn=\"assistant\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-15 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv data-conversation-screenshot-content=\"\" class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"3d9a5c98-0a1d-4238-8e48-76407e303679\" data-turn-start-message=\"true\" dir=\"auto\" data-message-model-slug=\"gpt-5-6-thinking\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cp data-start=\"132\" data-end=\"349\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an original Japanese B2 theatrical poster produced for the first Japanese release of Naqoyqatsi \/ 「ナコイカッツィ」, Godfrey Reggio’s 2002 non-narrative film and the concluding chapter of the celebrated Qatsi trilogy.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"351\" data-end=\"635\"\u003eThe film opened theatrically in Japan on \u003cstrong data-start=\"392\" data-end=\"412\"\u003e28 February 2004\u003c\/strong\u003e, distributed by Toshiba Entertainment. This extraordinary Japanese campaign artwork was created by \u003cstrong data-start=\"512\" data-end=\"537\"\u003eTadanori Yokoo \/ 横尾忠則\u003c\/strong\u003e, whose printed signature appears in the lower-right corner. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"890\" data-end=\"909\"\u003e\u003cstrong data-start=\"890\" data-end=\"909\"\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"911\" data-end=\"1085\"\u003eNaqoyqatsi was written and directed by Godfrey Reggio and completes the experimental film trilogy that began with Koyaanisqatsi in 1982 and continued with Powaqqatsi in 1988.\u003c\/p\u003e\n\u003cp data-start=\"1087\" data-end=\"1364\"\u003eThe film has no conventional dramatic plot, dialogue or principal cast. Instead, it operates as a large-scale visual and musical essay examining a contemporary world increasingly governed by technology, virtual imagery, competition, global communication and organised violence.\u003c\/p\u003e\n\u003cp data-start=\"1366\" data-end=\"1449\"\u003eThe title is derived from the Hopi language. Its meanings are given in the film as:\u003c\/p\u003e\n\u003cp data-start=\"1451\" data-end=\"1486\"\u003e\u003cstrong data-start=\"1451\" data-end=\"1486\"\u003e“A life of killing each other.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1488\" data-end=\"1515\"\u003e\u003cstrong data-start=\"1488\" data-end=\"1515\"\u003e“War as a way of life.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1517\" data-end=\"1580\"\u003e\u003cstrong data-start=\"1517\" data-end=\"1542\"\u003e“Civilized violence.”\u003c\/strong\u003e \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1582\" data-end=\"1765\"\u003eWhere the earlier Qatsi films frequently contrasted natural landscapes with industrial development, Naqoyqatsi presents a world in which the original image has itself become unstable.\u003c\/p\u003e\n\u003cp data-start=\"1767\" data-end=\"2153\"\u003eArchival footage, scientific imagery, news broadcasts, historical photographs and familiar cultural symbols are digitally altered, reanimated and combined with computer-generated material. The resulting images appear simultaneously recognisable and artificial, reflecting the film’s concern with the replacement of direct human experience by technologically manufactured representation.\u003c\/p\u003e\n\u003cp data-start=\"2155\" data-end=\"2373\"\u003eThe film’s opening image is a digitally transformed version of Pieter Bruegel the Elder’s Tower of Babel. This becomes a recurring symbol of human ambition, technological expansion and the breakdown of common language.\u003c\/p\u003e\n\u003cp data-start=\"2375\" data-end=\"2584\"\u003eRather than presenting a conventional argument, Reggio surrounds the viewer with rapidly changing images of warfare, sport, politics, commerce, machinery, celebrity, scientific research and mass communication.\u003c\/p\u003e\n\u003cp data-start=\"2586\" data-end=\"2625\"\u003eThe principal creative credits include:\u003c\/p\u003e\n\u003cp data-start=\"2627\" data-end=\"2670\"\u003e\u003cstrong data-start=\"2627\" data-end=\"2670\"\u003eWritten and Directed by: Godfrey Reggio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2672\" data-end=\"2712\"\u003e\u003cstrong data-start=\"2672\" data-end=\"2712\"\u003eEditor and Visual Designer: Jon Kane\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2714\" data-end=\"2737\"\u003e\u003cstrong data-start=\"2714\" data-end=\"2737\"\u003eMusic: Philip Glass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2739\" data-end=\"2764\"\u003e\u003cstrong data-start=\"2739\" data-end=\"2764\"\u003eCello Solos: Yo-Yo Ma\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2766\" data-end=\"2807\"\u003e\u003cstrong data-start=\"2766\" data-end=\"2807\"\u003eExecutive Producer: Steven Soderbergh\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2809\" data-end=\"2868\"\u003e\u003cstrong data-start=\"2809\" data-end=\"2868\"\u003eProducers: Joe Beirne, Godfrey Reggio and Lawrence Taub\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2870\" data-end=\"2915\"\u003e\u003cstrong data-start=\"2870\" data-end=\"2915\"\u003eDirector of Photography: Russell Lee Fine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2917\" data-end=\"2964\"\u003e\u003cstrong data-start=\"2917\" data-end=\"2964\"\u003eJapanese Distributor: Toshiba Entertainment\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2966\" data-end=\"3053\"\u003e\u003cstrong data-start=\"2966\" data-end=\"3015\"\u003eJapanese Poster Design: Tadanori Yokoo \/ 横尾忠則\u003c\/strong\u003e \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"3055\" data-end=\"3093\"\u003e\u003cstrong data-start=\"3055\" data-end=\"3093\"\u003eMusic by Philip Glass and Yo-Yo Ma\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"3095\" data-end=\"3232\"\u003ePhilip Glass’s score is fundamental to the structure of Naqoyqatsi, functioning as the film’s emotional voice in the absence of dialogue.\u003c\/p\u003e\n\u003cp data-start=\"3234\" data-end=\"3544\"\u003eIn contrast to the heavily processed digital imagery, Glass composed the score predominantly for an acoustic symphonic ensemble. A solo cello, performed by \u003cstrong data-start=\"3390\" data-end=\"3402\"\u003eYo-Yo Ma\u003c\/strong\u003e, runs throughout the work and provides a distinctly human presence against the film’s synthetic and technologically manipulated visual world.\u003c\/p\u003e\n\u003cp data-start=\"3546\" data-end=\"3708\"\u003eThe score was conducted by Michael Riesman and performed by an orchestra together with members of the Philip Glass Ensemble. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"3710\" data-end=\"3745\"\u003e\u003cstrong data-start=\"3710\" data-end=\"3745\"\u003ePoster design by Tadanori Yokoo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"3747\" data-end=\"3862\"\u003eThe Japanese poster was created by \u003cstrong data-start=\"3782\" data-end=\"3800\"\u003eTadanori Yokoo\u003c\/strong\u003e, one of the central figures in post-war Japanese graphic art.\u003c\/p\u003e\n\u003cp data-start=\"3864\" data-end=\"4073\"\u003eYokoo abandons conventional film-poster hierarchy in favour of an overwhelming collage composed from architecture, human anatomy, scientific diagrams, military imagery, machinery and fragments of mass culture.\u003c\/p\u003e\n\u003cp data-start=\"4075\" data-end=\"4344\"\u003eHis design is divided into \u003cstrong data-start=\"4102\" data-end=\"4139\"\u003ethree horizontal visual registers\u003c\/strong\u003e, separated by two solid black bars. These divisions resemble cinematic frames, television screens or sections of a filmstrip, while the imagery continues across them to form one uninterrupted composition.\u003c\/p\u003e\n\u003cp data-start=\"4346\" data-end=\"4437\"\u003eThe black bars are \u003cstrong data-start=\"4365\" data-end=\"4402\"\u003eprinted components of the artwork\u003c\/strong\u003e and are not joins, seams or folds.\u003c\/p\u003e\n\u003cp data-start=\"4439\" data-end=\"4460\"\u003e\u003cstrong data-start=\"4439\" data-end=\"4460\"\u003eUpper composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4462\" data-end=\"4555\"\u003eThe upper section is dominated by an enormous pair of human eyes rendered in pale monochrome.\u003c\/p\u003e\n\u003cp data-start=\"4557\" data-end=\"4803\"\u003eA rocket or missile rises vertically between them, its exhaust forming a bright yellow explosion above a fragment of the Tower of Babel. The rocket appears to connect human vision, technological power and destruction within a single central axis.\u003c\/p\u003e\n\u003cp data-start=\"4805\" data-end=\"5034\"\u003eAbove the eyes is a vivid pink, red and violet cloud containing silhouetted human figures. The surrounding darkness is filled with hundreds of illuminated squares, suggesting city lights, digital pixels or electronic information.\u003c\/p\u003e\n\u003cp data-start=\"5036\" data-end=\"5198\"\u003eTwo falling or diving figures appear on either side of the rocket—one white and one orange—introducing images of physical movement, competition and vulnerability.\u003c\/p\u003e\n\u003cp data-start=\"5200\" data-end=\"5210\"\u003eThe title:\u003c\/p\u003e\n\u003cp data-start=\"5212\" data-end=\"5228\"\u003e\u003cstrong data-start=\"5212\" data-end=\"5228\"\u003e“NAQOYQATSI”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5230\" data-end=\"5276\"\u003eappears in condensed red lettering at the top.\u003c\/p\u003e\n\u003cp data-start=\"5278\" data-end=\"5301\"\u003e\u003cstrong data-start=\"5278\" data-end=\"5301\"\u003eCentral composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5303\" data-end=\"5414\"\u003eThe middle register is built around Bruegel’s \u003cstrong data-start=\"5349\" data-end=\"5367\"\u003eTower of Babel\u003c\/strong\u003e, one of the film’s principal recurring images.\u003c\/p\u003e\n\u003cp data-start=\"5416\" data-end=\"5708\"\u003eThe structure rises from a fragmented landscape while projectile-like forms move across the composition at extreme speed. Mathematical symbols, diagrams and scientific notations occupy the left side, contrasting systems of rational measurement with the emotional chaos elsewhere in the image.\u003c\/p\u003e\n\u003cp data-start=\"5710\" data-end=\"5734\"\u003eA monumental red letter:\u003c\/p\u003e\n\u003cp data-start=\"5736\" data-end=\"5743\"\u003e\u003cstrong data-start=\"5736\" data-end=\"5743\"\u003e“A”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5745\" data-end=\"5906\"\u003eappears against an intense yellow-orange field. Its unexplained scale turns the letter itself into an image—part alphabet, warning sign and graphic interruption.\u003c\/p\u003e\n\u003cp data-start=\"5908\" data-end=\"6126\"\u003eAt the centre of the tower is a screaming human face, while additional faces appear along the right edge. Their open mouths and distorted expressions introduce an immediate sense of alarm and psychological instability.\u003c\/p\u003e\n\u003cp data-start=\"6128\" data-end=\"6142\"\u003eThe red title:\u003c\/p\u003e\n\u003cp data-start=\"6144\" data-end=\"6160\"\u003e\u003cstrong data-start=\"6144\" data-end=\"6160\"\u003e“NAQOYQATSI”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6162\" data-end=\"6206\"\u003eis repeated across the centre of the design.\u003c\/p\u003e\n\u003cp data-start=\"6208\" data-end=\"6229\"\u003e\u003cstrong data-start=\"6208\" data-end=\"6229\"\u003eLower composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6231\" data-end=\"6314\"\u003eThe lower register moves into an increasingly mechanical and digitised environment.\u003c\/p\u003e\n\u003cp data-start=\"6316\" data-end=\"6520\"\u003eRows of golden anatomical or skeletal figures stand beside a sharply receding transport corridor. Their repetition gives them the appearance of manufactured human forms moving through an automated system.\u003c\/p\u003e\n\u003cp data-start=\"6522\" data-end=\"6718\"\u003eA blue vortex filled with streams of binary-style information dominates the centre, suggesting data transmission, electronic communication and the absorption of physical reality into digital code.\u003c\/p\u003e\n\u003cp data-start=\"6720\" data-end=\"6875\"\u003eAt right, an enormous dark industrial or transport mechanism advances towards the viewer, while fragments of architecture and landscape dissolve around it.\u003c\/p\u003e\n\u003cp data-start=\"6877\" data-end=\"6909\"\u003eThe principal title block reads:\u003c\/p\u003e\n\u003cp data-start=\"6911\" data-end=\"6960\"\u003e\u003cstrong data-start=\"6911\" data-end=\"6960\"\u003e“Miramax Films and Steven Soderbergh present”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6962\" data-end=\"6978\"\u003e\u003cstrong data-start=\"6962\" data-end=\"6978\"\u003e“NAQOYQATSI”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6980\" data-end=\"6997\"\u003e\u003cstrong data-start=\"6980\" data-end=\"6997\"\u003e“LIFE AS WAR”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6999\" data-end=\"7012\"\u003e\u003cstrong data-start=\"6999\" data-end=\"7012\"\u003e「ナコイカッツィ」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"7014\" data-end=\"7087\"\u003eThe Japanese text is the phonetic katakana rendering of the film’s title.\u003c\/p\u003e\n\u003cp data-start=\"7089\" data-end=\"7268\"\u003eYokoo’s printed signature appears discreetly at the lower-right corner. \u003cstrong data-start=\"7161\" data-end=\"7268\"\u003eThis is part of the original printed design and should not be interpreted as a separate hand-signature.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"7270\" data-end=\"7565\"\u003eThe repeated red titles, monochrome photographic fragments and isolated areas of intense pink, orange, yellow and blue create a design that closely mirrors the film’s visual method: familiar images are stripped of their original context and reorganised into a new, deliberately unstable reality.\u003c\/p\u003e\n\u003cp data-start=\"7567\" data-end=\"7812\"\u003eYokoo’s involvement gives this poster particular importance beyond conventional film memorabilia. It represents a significant meeting point between \u003cstrong data-start=\"7715\" data-end=\"7811\"\u003eJapanese post-war graphic design, American experimental cinema and the music of Philip Glass\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"7814\" data-end=\"7827\"\u003e\u003cstrong data-start=\"7814\" data-end=\"7827\"\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"7829\" data-end=\"8012\"\u003e\u003cstrong data-start=\"7829\" data-end=\"7854\"\u003eVery Good+ condition.\u003c\/strong\u003e The poster retains strong black and white contrast, vivid red title lettering and excellent detail throughout Tadanori Yokoo’s exceptionally complex collage.\u003c\/p\u003e\n\u003cp data-start=\"8401\" data-end=\"8421\"\u003eReference: \u003cstrong data-start=\"8412\" data-end=\"8420\"\u003eK354\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"8423\" data-end=\"8512\"\u003ePlease review all photographs carefully, as they show the exact poster and its condition.\u003c\/p\u003e\n\u003cp data-start=\"8514\" data-end=\"8663\"\u003eThis is an original Japanese B2 theatrical poster from the film’s first Japanese release in 2004, \u003cstrong data-start=\"8612\" data-end=\"8662\"\u003enot a reproduction or later decorative reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"8665\" data-end=\"8693\"\u003eIt is now over 20 years old.\u003c\/p\u003e\n\u003cp data-start=\"8695\" data-end=\"8736\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"8695\" data-end=\"8736\" data-is-last-node=\"\"\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"mt-3 w-full empty:hidden\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57110095069562,"sku":null,"price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-07-27T113540.668.jpg?v=1785119768","url":"https:\/\/japanposter.co.uk\/products\/naqoyqatsi-%e3%83%8a%e3%82%b3%e3%82%a4%e3%82%ab%e3%83%83%e3%83%84%e3%82%a3-original-japanese-first-release-movie-poster-2004-tadanori-yokoo-artwork-b2-size-51-73-cm-k354","provider":"Japan Poster Shop","version":"1.0","type":"link"}